墨 means 'black ink'

Japanese calligraphy reflects the state of an artist's mind, spirit, and body. In one novel, a character studies her father's brushstrokes to assess his health. Applying ink to paper is soulful; one leaves behind traces of oneself that way. As essay 1821 shows, Zen has influenced sumi-e (ink paintings). That essay examines calligraphy and sumi-e from all angles, as do the other essays to some degree, including the way to liquefy inksticks (a meditative practice), the red marks with which teachers correct calligraphy, the vermilion stamps that serve as calligraphers' signatures, and the significance of bold strokes versus diluted ones.

As these essays show, Japanese culture flourished in the Asuka and Nara periods (550–794). Asuka-era architectural styles impress even today. In that period, the Japanese brought stringed instruments back from China. Around the same time, the Japanese began producing copious inksticks, leading to calligraphy, ink drawing, and ink painting (and soon to dyeing clothes). Simultaneously, the literary world made great gains; the first nonfiction (two history chronicles) and a poetry anthology came out—all still significant works. The earliest Japanese gardens also emerged in the late Nara period.